‘My song is bigger’ — The chaos of choosing “Song of the Year”

As the year draws to a close, debate among music lovers often centres on which track deserves the coveted title “Song of the Year”.

Music fans are already staking their claims on social media regarding the year’s best song. But the question remains: What makes a track worthy of being crowned “Song of the Year”? Is it the number of streams, radio airplay or social media buzz about it?

Or is it something more intangible, like the impact it has on the community?

This year alone has seen many artistes dominate the music charts, with some maintaining the number one position on radio for extended periods.

For example, a few months back, Jah Prayzah’s song “Ruzhowa” topped the Zimbabwe Apple Music charts and maintained the first position on various platforms for months.

The song’s prolonged stay at the top led his fans to believe it was the top contender for the title. However, the question remains: Should a song’s ranking be determined solely by fan loyalty?

“Too Much” by Nutty O also proved to be a fan favourite, with some even calling it the national anthem. There are also songs like “Siya” by Winky D, Hulengende’s “Fadza Madzimai” and “Door Ratovharwa” by Donator Calvins that are fuelling further fan wars, with supporters claiming each song is the best.

For the National Arts Merit Awards (NAMA), the Song of the Year (Outstanding Song) winner is chosen by an independent panel of expert adjudicators, rather than through public voting.

The public may cast votes for the People’s Choice Award, but the Outstanding Song category is decided exclusively by the judges.

In contrast, for the Zimbabwe Music Awards (ZIMA), the Song of the Year winner is determined entirely by public voting.

The process typically begins with a committee of music experts who screen and validate entries submitted by artistes or the public during a designated entry period.

A shortlist of nominees is then announced publicly, after which the ultimate winner is selected based on public votes.

Yet the music landscape has become complex with the rise of social media.

Songs can go viral in a matter of hours, with fan bases more passionate than ever.

But does this mean the most popular song on TikTok or Instagram is automatically the Song of the Year?

Before social media, the key measures included radio charts, record sales and crowd reaction at live shows. Now, it seems social media shapes the conversation more than actual popularity. TikTok and Facebook can create fast virality, fan wars and hype, but sometimes the loudest fans online do not reflect the whole nation’s listening habits.

Viral tweets, TikTok challenges, Instagram Reels and fan-driven campaigns can create the illusion of supremacy. A song can appear massive online even when its presence on the ground is minimal.

According to music experts and critics, a true outstanding track must dominate across four areas: radio airplay, street buzz, streaming numbers and cultural impact.

Creative entrepreneur, cultural innovator and arts journalist Plot Mhako shared his sentiments.

“It is not just about being popular online; it is about being a part of the national conversation. A genuine Song of the Year is more than a viral moment; it is a track that leaves a lasting cultural footprint,” he said.

“True national hits cut across age groups, regions and social divides. A song confined to one fan base or one city rarely carries enough weight to claim the title. Its presence must be sustained, not fleeting; a real contender is felt for months, not just during the spike of initial hype.”

He added that before streaming tallied, Zimbabwe’s definition of a hit relied on more grounded indicators: radio dominance, physical sales and the song’s presence in daily life.

“Radio was the era’s ultimate gatekeeper. If a track topped the charts for consecutive weeks, it was widely accepted as the nation’s favourite,” said Mhako.

“That influence still holds today, especially outside major cities; dominance on a powerhouse station like Radio Zimbabwe speaks volumes.”

Mhako opines that while songs like “Manhanga Matete” and “Weru” have been making waves this year, they may be overshadowed by louder and more aggressive fan bases.

“Today, however, the landscape is more complex… This digital noise can easily overshadow quieter, but widely circulated hits,” he said.

“Back then, CD and cassette sales offered concrete proof of popularity. But the most authentic measure came from the community, the bottle stores, long-distance buses, street parties, growth points and rural gatherings where music lives beyond charts and countdowns.”

Music producer, composer and multi-instrumentalist Clive Mono Mukundu said it was now difficult to crown the Song of the Year.

“Prior to the digital age, the Song of the Year was determined by sales and votes. However, with our current state of affairs, where we no longer have proper measurable sales and our people are scattered all over the world, measuring has become extremely difficult,” he said.

He notes the current fragmentation.

“Remember that music fans are now divided into camps or distinct communities. The dancehall community may be completely unaware of hit songs from the sungura community,” said Mukundu.

“However, hit songs tend to cut across genres and communities. So, in my opinion, all of the songs listed above qualify. But ‘Manhanga Matete’ is definitely a very strong candidate because it cuts across all communities, so it has my personal vote.”

Marshall Shonhai — an author, event specialist, stage manager and social activist — agrees that the rise of social media has changed the game.

“A true Song of the Year must dominate across four areas — radio airplay, street buzz, streaming numbers and cultural impact,” he said. “In Zimbabwe, a song must work in kombis, on radio, online and at events, not just on one platform.

“Charts are still relevant, but not as dominant as before. Radio shows national appeal, especially in rural, farming and mining areas, but votes can be influenced by mobilised fan bases.

“It is important, but no longer the only measure. TikTok virality will become the main metric, followed by AI (artificial intelligence)-driven streaming insights and short-form video engagement. Diaspora streaming and meme culture will also increasingly influence what becomes the national Song of the Year.”

Multi-award-winning disc jockey (DJ) and music producer DJ Fydale the Don focuses on the song’s intrinsic quality and connection.

“The song must be well-crafted, it must connect to a broad audience and cause action on the part of the listener,” he said. “For us DJs, when we play songs at different events, we see the best songs.

“For me personally, the Song of the Year should be ‘Door Ratovharwa’, as I have seen what happens with crowds whenever I play it. The Song of the Year should be measured using the ghetto and rural areas as it has high popularity.

“Also, radio charts play a big role in choosing the Song of the Year.”

Based on the above insights, a Song of the Year should be more than a viral moment.

It must resonate with the community, stand the test of time and leave a lasting cultural impact across the nation.

So, which track do you believe deserves the honour this year? *_-Herald_*